Son of Gustave, agronomist, and of Pauline Augusta d' Albis. Auberjonois gives up a banking training. Course of violin, polytechnic school in Dresden, school of the fine arts of Kensington to London (1895), raises of Luc-Olivier Merson in Paris (1896), Art schools in Paris (1897-1900), where Auberjonois settles.

It starts by adapting a pictorial vocabulary postimpressionnist before confronting itself with the lesson cézannienne since 1912.

With its return in Switzerland in 1914, it develops a research marked by the deformation of the figures and several reductions and successive darkenings of its pallet. It carries out into 1916 the decorations of Guillaume the Insane one of Fernand Chavannes. In 1918, it is associated with Igor Stravinsky and Charles Ferdinand Ramuz for the History of the Soldier; it creates decorations, curtains of scene and costumes, which develops its interest for popular art.

After its decorations for the bicentenary of major Davel (1923) and the Ball of the Artists of 1927, an approach of painting under glass (1928-1929, 1935), it gives up the artificial search of simple forms and “primitives” that it found with the state of nature Were worth some or in the world of the open ones. Landscapes, portraits, died natures, animal, naked female are the essential topics of its search for a synthesis between rigorous construction of space and expressivity.

Its painting testifies to a slow maturation; based on an early and important work drawn, it reaches since 1948 its apogee, marked by a dark pallet and scenes of bullfights. Famous A. of many books, in particular of Ramuz, met in 1905 in Paris and with which it is dependant of friendship its life during. The polemic around its mural decorations for the abbey of Dézaley in 1935 testifies to a reception discussed in French-speaking Switzerland; the recognition is primarily Germanic, even international (Biennale de Venise in 1948, Documenta of Cassel in 1955).

Resolutely modern in the deformations which it imposes on nature, conservative in his fidelity with this model, Auberjonois seem a new guardian and emblematic figure of Swiss art after Hodler, but remain however without epigones.